Contents

To create lead guitar lines, guitarists use scales, modes, arpeggios, licks, and riffs that are performed using a variety of techniques.[1] In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, lead guitar lines often employ alternate picking, sweep picking, economy picking and legato (e.g., hammer ons, pull offs), which are used to maximize the speed of their solos or riffs. Such "tricks" can employ the picking hand used in the fret area (such as tapping), and even be augmented and embellished with devices such as bows, or separate electronic devices such as an EBow (electronic bow).

Some guitarists occasionally use skills that combine technique and showmanship, such as playing the guitar behind their head or picking with the front teeth In a blues context, as well as others, guitarists sometimes create leads that use call and response-style riffs that they embellish with string bending, vibrato, and slides.

Jazz guitarists integrate the basic building blocks of scales and arpeggio patterns into balanced rhythmic and melodic phrases that make up a cohesive solo. Jazz guitarists often try to imbue their melodic phrasing with the sense of natural breathing and legato phrasing used by horn players such as saxophone players. As well, a jazz guitarists' solo improvisations have to have a rhythmic drive and "timefeel" that creates a sense of "swing" and "groove." The most experienced jazz guitarists learn to play with different "timefeels" such as playing "ahead of the beat" or "behind the beat," to create or release tension.

Another aspect of the jazz guitar style is the use of stylistically appropriate ornaments, such as grace notes, slides, and muted notes. Each subgenre or era of jazz has different ornaments that are part of the style of that subgenre or era. Jazz guitarists usually learn the appropriate ornamenting styles by listening to prominent recordings from a given style or jazz era. Some jazz guitarists also borrow ornamentation techniques from other jazz instruments, such as Wes Montgomery's borrowing of playing melodies in parallel octaves, which is a jazz piano technique. Jazz guitarists also have to learn how to add in passing tones, use "guide tones" and chord tones from the chord progression to structure their improvisations.

In the 1970s and 1980s, with jazz-rock fusion guitar playing, jazz guitarists incorporated rock guitar soloing approaches, such as riff-based soloing and usage of pentatonic and blues scale patterns. Some guitarists used Jimi Hendrix-influenced distortion and wah-wah effects to get a sustained, heavy tone, or even used rapid-fire guitar shredding techniques, such as tapping and tremolo bar bending. Guitarist Al Di Meola, who started his career with Return to Forever in 1974, was one of the first guitarists to perform in a "shred" style, a technique later used in rock and heavy metal playing. Di Meola used alternate-picking to perform very rapid sequences of notes in his solos.

When jazz guitar players improvise, they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression. The approach to improvising has changed since the earliest eras of jazz guitar. During the Swing era, many soloists improvised "by ear" by embellishing the melody with ornaments and passing notes. However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and piano players, bebop-era jazz guitarists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.[2] Jazz guitar players tend to improvise around chord/scale relationships, rather than reworking the melody, possibly due to their familiarity with chords resulting from their comping role. A source of melodic ideas for improvisation is transcribing improvised solos from recordings. This provides jazz guitarists with a source of "licks", melodic phrases and ideas they incorporate either intact or in variations, and is an established way of learning from the previous generations of players

In a band with two guitars, there can be a logical division between lead and rhythm guitars and although that division may be unclear.[1] Two guitarists may perform as a guitar tandem, and trade off the lead guitar and rhythm guitar roles. Alternatively, two or more guitarists can share the lead and rhythm roles throughout the show, or both guitarists can play the same role ("dual lead guitars" or "dual rhythm guitars"). Often several guitarists playing individual notes may create chord patterns while mixing these "harmonies" with mixed unison passages creating unique sound effects with sound altering electronicspecial effects such as doublers or a "chorus" effect that over-pronounce the lead significantly sometimes to cut through to be heard in loud shows or throw its sound aesthetically both acoustically or electronically.

In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, the lead guitar line often involves melodies (as well as power chords from the rhythm guitars) with a sustained, singing tone. To create this tone on the electric guitar, guitarists often select certain pickups and use electronic effects such as effects pedals and distortion pedals, or sound compressors, or doubler effects for a more sustained tone, and delay effects or an electronic "chorus" effect as well as electronic reverb and echo for a reverberant sound.

To attain this sustain effect guitarists often use tube amplifiers such as those from Marshall or Fender.[3] The tube effect comes from the way amplifying tubes distort when pushed to the limits of their amplification power. As the guitar signal's waveform reaches the amplifier's limits, amplification decreases—rounding off the top of the waveform. This amounts to compression of individual wave cycles, and is pleasing to the ear.

High volume can induce audio feedback, which a guitarist can control to dramatically increases sustain. By holding the guitar at a certain distance and angle from the amplifier speakers, a guitarist can create a continuous, undecaying sound. Electronic special effects that use effects loops can artificially reproduce this. Other effects that embellish lead guitar tone and pitch include the vibrato bar which physically alters string tension, slides, and wah-wah and univibe effects.

1.
Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. There are three types of modern acoustic guitar, the classical guitar, the steel-string acoustic guitar, and the archtop guitar. The tone of a guitar is produced by the strings vibration, amplified by the hollow body of the guitar. The term finger-picking can also refer to a tradition of folk, blues, bluegrass. The acoustic bass guitar is an instrument that is one octave below a regular guitar. Early amplified guitars employed a body, but a solid wood body was eventually found more suitable during the 1960s and 1970s. As with acoustic guitars, there are a number of types of guitars, including hollowbody guitars, archtop guitars and solid-body guitars. The electric guitar has had a influence on popular culture. The guitar is used in a variety of musical genres worldwide. It is recognized as an instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul. The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. The modern word guitar, and its antecedents, has applied to a wide variety of chordophones since classical times. Many influences are cited as antecedents to the modern guitar, at least two instruments called guitars were in use in Spain by 1200, the guitarra latina and the so-called guitarra morisca. The guitarra morisca had a back, wide fingerboard. The guitarra Latina had a sound hole and a narrower neck. By the 14th century the qualifiers moresca or morisca and latina had been dropped, and it had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist

2.
Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London

3.
Fill (music)
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In popular music, a fill is a short musical passage, riff, or rhythmic sound which helps to sustain the listeners attention during a break between the phrases of a melody. While riffs are repeated, fills tend to be varied over the course of a song. For example, a drummer may fill in the end of one phrase with a sixteenth note hi-hat pattern, in drumming, a fill is defined as a short break in the groove--a lick that fills in the gaps of the music and/or signals the end of a phrase. Its kind of like a mini-solo, a fill may be played by rock or pop instruments such as the electric lead guitar or bass, organ, or drums, or by other instruments such as strings or horns. In blues or swing-style scat singing, a fill may even be sung, in a hip-hop group, a fill may consist of rhythmic turntable scratching performed by a DJ. Fills can vary as to style, length, and dynamics, most fills are simple in structure and short in duration Each type of popular music such as funk, country, and metal has characteristic fill passages, such as short scalar licks, runs, or riffs. Musicians are expected to be able to select and perform stylistically appropriate fills from a collection of stock fills, chordal fills on guitar or keyboard instruments are groups of single notes played within the context of a specific chord to produc a countermelody. A guitarist playing chordal fills will strum the chord for several strums, in some styles, such as jazz or jazz fusion, musicians have more freedom to improvise fill passages each time a piece or song is performed. In other styles, such as bluegrass, performers are more likely to use standard walkup or walkdown scalar passages as fills in every song, some groups use previously composed fills as part of the identity of a song. The Eagles, for example, play the same each time they perform a song. Fills are distinguished from solo breaks, which are short, often unaccompanied solo passages interpolated between sections of a song. Whereas fills are relatively unobtrusive, solo breaks such as bass runs are composed to draw attention to the soloists virtuoso skills by using difficult techniques. Fill passages are also distinguished from lead passages, in which a musical instrument becomes a substitute for the singer for a substantial period

4.
Riffs
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm

5.
Double-stop
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In music, a double stop refers to the technique of playing two notes simultaneously on a bowed stringed instrument such as a violin, a viola, a cello, or a double bass. In performing a double stop, two strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered, a triple stop is the same technique applied to three strings, a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping, early extensive examples of the double-stop and string chords appear in Carlo Farinas Capriccio Stravagante from 1627, and in certain of the sonatas of Biagio Marinis op.8 of 1629. On instruments with a bridge, it is difficult to bow more than two strings simultaneously. Early treatises make it clear that composers did not expect three notes to be played at once, even though the notes may be written in a way as to suggest this, playing four notes at once is almost impossible. The normal way of playing three or four note chords is to sound the lower notes briefly and allow them to ring while the bow plays the upper notes and this gives the illusion of a true triple or quadruple stop. In forte, however, it is possible to play three notes at once, especially when bowed toward the fingerboard, with this technique more pressure than usual is needed on the bow, so this cannot be practiced in softer passages. This technique is used in music with great force, such as the cadenza-like solo at the beginning of the last movement of Tchaikovskys violin concerto. An invention called the Bach bow with an arched back uses a system of levers to slacken or tighten bow hair immediately while playing so as to facilitate the performance of polyphonic music. Such a bow was conceived early in the 20th century by Arnold Schering and Albert Schweitzer, a similar device called the Vega bow was built in 1954 under the sponsorship of the violinist Emil Telmányi. Neither of these bears any particular relation to historical Baroque bows. In longer three-note or four-note chords, either the top note or the top two notes are sustained after the notes have been played as grace notes. Sometimes the noteheads for the notes are filled in to show they are of short duration while the noteheads for the notes to be held are left open. This notation occurs, for example, at the beginning of the movement of Beethovens fifth symphony. Simultaneous notes in a part for an orchestral string section may played as multiple stops or the individual notes may be distributed among the players within the section. Where the latter is intended, divisi or div. is written above the staff

6.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis

7.
Heavy metal music
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Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. Heavy metal lyrics and performance styles are associated with aggression. The first heavy metal such as Led Zeppelin, Black Sabbath. During the mid-1970s, Judas Priest helped spur the evolution by discarding much of its blues influence, Motörhead introduced a punk rock sensibility. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden, before the end of the decade, heavy metal fans became known as metalheads or headbangers. During the 1980s, glam metal became popular with such as Mötley Crüe. Since the mid-1990s popular styles have further expanded the definition of the genre and these include groove metal and nu metal, the latter of which often incorporates elements of grunge and hip hop. Heavy metal is characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound. Metal subgenres variously emphasize, alter, or omit one or more of these attributes, the typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are used to enhance the fullness of the sound. Deep Purples Jon Lord played an overdriven Hammond organ, in 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III, by the 1990s, in. almost every subgenre of heavy metal synthesizers were used. The electric guitar and the power that it projects through amplification has historically been the key element in heavy metal. The heavy metal guitar sound comes from a use of high volumes. Guitar solos are an element of the heavy metal code. That underscores the significance of the guitar to the genre, most heavy metal songs featur at least one guitar solo, which is a primary means through which the heavy metal performer expresses virtuosity. One exception is nu metal bands, which tend to omit guitar solos, with rhythm guitar parts, the heavy crunch sound in heavy metal. Palm muting the strings with the hand and using distortion. Palm muting creates a tighter, more sound and it emphasizes the low end

8.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody

9.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements

10.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes

11.
Jazz fusion
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Jazz fusion is a musical genre that developed in the late 1960s when musicians combined aspects of jazz harmony and improvisation with styles such as funk, rock, rhythm and blues, and Latin jazz. During this time many jazz musicians began experimenting with electric instruments and amplified sound for the first time, as well as electronic effects, many of the developments during the late 1960s and early 1970s have since become established elements of jazz fusion musical practice. Fusion arrangements vary in complexity—some employ groove-based vamps fixed to a key, or even a single chord. Others can feature odd or shifting time signatures with elaborate chord progressions, melodies, typically, these arrangements, whether simple or complex, will feature extended improvised sections that can vary in length. As with jazz, fusion often employs brass and woodwind instruments such as trumpet and saxophone as melody and soloing instruments, the rhythm section typically consists of electric bass, electric guitar, electric piano/synthesizer and drums. As with traditional jazz improvisation, fusion instrumentalists generally require a level of technical proficiency. The term jazz-rock is often used as a synonym for jazz fusion as well as for music performed by late 1960s, experimentation continued in the 1990s and 2000s. Fusion albums, even those that are made by the group or artist. Rather than being a musical style, fusion can be viewed as a musical tradition or approach. Afro-Cuban jazz, one the earliest form of Latin jazz, is a fusion of Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban jazz first emerged in the early 1940s with the Cuban musicians Mario Bauza and Frank Grillo Machito in the band Machito and his Afro-Cubans, based in New York City. Early combinations of jazz with Cuban music, such as Dizzys and Pozos Manteca and Charlie Parkers and Machitos Mangó Mangüé, were referred to as Cubop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba itself, allmusic Guide states that until around 1967, the worlds of jazz and rock were nearly completely separate. One of the earliest releases from Pink Floyd, London 66–67 incorporated jazz-influenced improvisation to their psychedelic compositions, nevertheless, these developments made little impact in the United States. Jazz vibraphonist Gary Burton was an innovator in the 1960s, in 1967, Burton worked with electric guitarist Larry Coryell and recorded Duster, which is considered one of the first fusion records. Texas-born guitarist Coryell was also a pioneer of jazz in the same era. Trumpeter and composer Miles Davis had a influence on the development of jazz fusion with his 1968 album Miles in the Sky. It is the first of Davis albums to incorporate electric instruments, with Herbie Hancock and Ron Carter playing electric piano and bass guitar, respectively

12.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions

13.
Rhythm guitar
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Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, in big band music, the guitarist is considered part of the rhythm section, alongside bass and drums. In some musical situations, such as a solo singer-guitarist, the guitar accompaniment provides all the rhythmic drive, in the most commercially available and consumed genres, electric guitars tend to dominate their acoustic cousins in both the recording studio and the live venue. However the acoustic guitar remains a popular choice in country, western and especially bluegrass music, most rhythms in rock and blues are based on 4/4 time with a backbeat, however, many variations are possible. A backbeat is a syncopated accentuation on the off beat, in a simple 4/4 rhythm these are beats 2 and 4. This requires rhythm guitarists to have a knowledge of how to use chord voicings, riffs. Three-chord progressions are common in pop and rock, using various combinations of the I, IV and V chords. Minor and modal chord progressions feature in popular music. One departure from the basic strummed chord technique is to play arpeggios, if this is done rapidly enough, listeners will still hear the sequence as harmony rather than melody. Arpeggiation is often used in folk, country, and heavy metal and it is also prominent in 1960s pop, such as The Animals House of the Rising Sun, and jangle pop from the 1980s onwards. Rhythm guitarists who use arpeggio often favor semi-acoustic guitars and twelve string guitars to get bright, the Soukous band TPOK Jazz additionally featured the unique role of mi-solo, guitarist, playing arpeggio patterns and filling a role between the lead and rhythm guitars. In some cases, the progression is implied with a simplified sequence of two or three notes, sometimes called a riff, that is repeated throughout the composition. In heavy metal music, this is expanded to more complex sequences comprising a combination of chords, single notes. The rhythm guitar part in compositions performed by more technically oriented bands often include riffs employing complex lead guitar techniques, in bands with two or more guitarists, the guitarists may exchange or even duplicate roles for different songs or different sections within a song. In those with a single guitarist, the guitarist may play lead and rhythm at different times or simultaneously, some rhythm techniques cross over into lead guitar playing. In guitar-bass-and-drums power trios guitarists must double up between rhythm and lead, for instance Jimi Hendrix combined full chords with solo licks, double stops and arpeggios. A recent innovation is the use of a pedal to record a chord sequence or riff over which the lead line can then be played. As a result, rhythm and lead players may use different guitars and amplifiers, Rhythm guitarists may employ an electric acoustic guitar or a humbucker-equipped electric guitar for a richer and fatter output

14.
Guitar chord
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In music, a guitar chord is a set of notes played on a guitar. A chords notes are played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning, standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root note on the third, fourth, fifth, for a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord, this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the order of notes in a chord. The playing of chords is simplified by open tunings, which are especially popular in folk, blues guitar. For example, the typical twelve-bar blues uses only three chords, each of which can be played by fretting six-strings with one finger, open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tunings, the playing of guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings, for each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners learning of chords and that simplifies advanced players improvisation. On the other hand, in regular tunings 6-string chords are more difficult to play and it can make a possible a chord which is composed of the all same note on different strings. Many chords can be played with the notes in more than one place on the fretboard. The theory of guitar-chords respects harmonic conventions of Western music, discussions of basic guitar-chords rely on fundamental concepts in music theory, the twelve notes of the octave, musical intervals, chords, and chord progressions. The octave consists of twelve notes and its natural notes constitute the C major scale. The unison and octave intervals have perfect consonance, octave intervals were popularized by the jazz playing of Wes Montgomery. The perfect-fifth interval is highly consonant, which means that the playing of the two notes from the perfect fifth sounds harmonious. A semitone is the distance between two adjacent notes on the circle, which displays the twelve notes of an octave. As indicated by their having been emboldened in the table, a handful of intervals—thirds, perfect fifths, as already stated, the perfect-fifths interval is the most harmonious, after the unison and octave intervals. An explanation of perception of harmony relates the mechanics of a vibrating string to the musical acoustics of sound waves using the harmonic analysis of Fourier series

15.
Riff
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm

16.
Musical scale
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In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave. A musical scale represents a division of the space into a certain number of scale steps. A measure of the width of each scale step provides a method to classify scales, based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its interval pattern and by a special note. The tonic of a scale is the selected as the beginning of the octave. Typically, the name of the scale specifies both its tonic and its interval pattern, for example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high, most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as an arrangement of pitch classes. The distance between two notes in a scale is called a scale step. The notes of a scale are numbered by their steps from the root of the scale, for example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to other, C and E create an interval of a third. A single scale can be manifested at many different pitch levels, for example, a C major scale can be started at C4 and ascending an octave to C5, or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered, the pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones. The notes of a scale form intervals with each of the notes of the chord in combination. A 5-note scale has 10 of these intervals, a 6-note scale has 15, a 7-note scale has 21

17.
Musical modes
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In the theory of Western music, mode generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, regarding the concept of mode as applied to pitch relationships generally, Harold S. being in the domain of mode. This synthesis between tonus as a tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition. Since the end of the century, the term mode has also applied to pitch structures in non-European musical cultures, sometimes with doubtful compatibility. The word encompasses several additional meanings, however, authors from the ninth century until the early eighteenth century sometimes employed the Latin modus for interval. A scale is a series of pitches that, with the key or tonic as a reference point, defines that scales intervals. The concept of mode in Western music theory has three stages, in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, mode incorporates the idea of the scale, but differs from it by also involving an element of melody type. By the early 19th century, the mode had taken on an additional meaning. At the same time, composers were beginning to conceive of modality as something outside of the system that could be used to evoke religious feelings or to suggest folk-music idioms. Early Greek treatises describe three interrelated concepts that are related to the later, medieval idea of mode, scales, tonoi—, and harmonia —pl. harmoniai—this third term subsuming the corresponding tonoi but not necessarily the converse. The association of ethnic names with the octave species appears to precede Aristoxenus. Depending on the positioning of the tones in the tetrachords. The diatonic genus, the genus, and the enharmonic genus. The framing interval of the fourth is fixed, while the two internal pitches are movable. Within the basic forms, the intervals of the chromatic and diatonic genera were varied further by three and two shades, respectively, the term tonos was used in four senses, as note, interval, region of the voice, and pitch. We use it of the region of the voice whenever we speak of Dorian, or Phrygian, or Lydian, in Ptolemys system, therefore there are only seven tonoi. Pythagoras also construed the intervals arithmetically, in their diatonic genus, these tonoi and corresponding harmoniai correspond with the intervals of the familiar modern major and minor scales

18.
Arpeggio
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A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord, an arpeggio is a type of broken chord where the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also more than one octave. The word arpeggio comes from the Italian word arpeggiare, which means to play on a harp, even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, Arpeggios enable composers writing for monophonic instruments that play one note at a time, to voice chords and chord progressions in musical pieces. Arpeggios and broken chords are used to help create rhythmic interest. A notable example of which is the Alberti bass figuration which was used in piano music from the Classical music period. With an Alberti bass, rather play the notes of a chord all at once. An arpeggio is a group of notes which are played one after the other, executing an arpeggio requires the player to play the sounds of a chord individually to differentiate the notes. The notes all belong to one chord, the chord may, for example, be a simple chord with the 1st, 3rd, and 5th notes of the scale in it. An arpeggio for the chord of C major going up two octaves would be the notes, an arpeggio is a type of broken chord. Other types of broken chords play chord notes out of sequence or more than one note, Arpeggios can rise or fall for more than one octave. Students of musical instruments and singers learn how to play and sing scales and they are often a requirement for music examinations. An arpeggiated chord means a chord which is spread, i. e. the notes are not played at the same time, arpeggiated chords are often used in harp and piano music. An arpeggiated chord may be written with a vertical line in front of the chord. It is spread from the lowest to the highest note, occasionally, composers such as Béla Bartók have asked for them to be played from top to bottom. This is shown by adding an arrow pointing down, some ostinato figures consist of arpeggios. Any instrument may employ arpeggiation, but the instruments use arpeggios most often

19.
Lick (music)
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In popular music genres such as rock or jazz music, a lick is a stock pattern or phrase consisting of a short series of notes that is used in solos and melodic lines and accompaniment. Licks in rock and roll are often used through a formula, in a jazz band, a lick may be performed during an improvised solo, either during an accompanied solo chorus or during an unaccompanied solo break. Jazz licks are usually original short phrases which can be altered so that they can be used over a songs changing harmonic progressions, a lick is different from the related concept of a riff in that riffs can also include repeated chord progressions. Licks are usually associated with single-note melodic lines rather than chord progressions, however, like riffs, licks can be used as the basis of an entire song. Single-line riffs or licks used as the basis of Western classical music pieces are called ostinatos, contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz. A lick can be a hook, if the lick meets the definition of a hook, a idea, a passage or phrase, that is believed to be appealing and make the song stand out. A lick may be incorporated into a fill, which is a short passage played in the pause between phrases of a melody, for musicians, learning a lick is usually a form of imitation. Imitating style is as important as learning the appropriate scale over a given chords, by imitating, musicians understand and analyze what others have done, which in turn allows them to build a vocabulary of their own

20.
Legato
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In music performance and notation, legato indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence, Legato technique is required for slurred performance, but unlike slurring, legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur under notes that form one legato group, Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato, the player achieves this through controlled wrist movements of the bowing hand, often masked or enhanced with vibrato. Such a legato style of playing can also be associated with portamento, the term hammer-ons from nowhere is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string. Many guitar virtuosos are well-versed in the technique, as it allows for rapid. Multiple hammer-ons and pull-offs together are also referred to colloquially as rolls. A rapid series of hammer-ons and pull-offs between a pair of notes is called a trill. Legato on guitar is associated with playing more notes within a beat than the stated timing. This gives the passage an unusual timing and when played slowly an unusual sound, however, this is less noticeable by ear when played fast, as legato usually is. There is a line between legato and two-hand finger tapping, in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a fluid, smooth sound to a passage. In synthesizers legato is a type of monophonic operation and this causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the note is released. In classical singing, legato means a string of sustained vowels with minimal interruption from consonants and it is a key characteristic of the bel canto singing style that prevailed among voice teachers and singers during the 18th century and the first four decades of the 19th century. Usually referred to as the line, a good, smooth legato is still necessary for successful classical singers, in Western Classical vocal music, singers generally use it on any phrase without explicit articulation marks. Usually the most prevalent issue with vocal legato is maintaining the line across registers, frederic Bernard - Composition Lesson I, “How To Legato. ”

21.
Hammer on
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A hammer-on is a playing technique performed on a stringed instrument by sharply bringing a fretting-hand finger down on the fingerboard behind a fret, causing a note to sound. This technique is the opposite of the pull-off, the technique also facilitates very fast playing because the picking hand does not have to move at such a high rate, and coordination between the hands only has to be achieved at certain points. Multiple hammer-ons and pull-offs together are also referred to colloquially as rolls. A hammer-on is usually represented in guitar tablature by a letter h, a rapid series of alternating hammer-ons and pull-offs between a single pair of notes is called a trill. The term hammer-on was first invented and popularized by Pete Seeger in his book How to Play the 5-String Banjo, Seeger also invented the term pull-off. In the Banjo tutor book Elliss Thorough Course For 5 String Banjo published prior to 1900, the description is, - The Shake, which is marked tr, is played in the following manner. Strike the first note only with the right hand & the remainder of the passage with the 2nd finger of the left hand, in the same tutor book, the action pull off is termed the snap

22.
Pull off
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A pull-off is a stringed instrument plucking technique performed by pulling the finger off a string off the fingerboard of either a fretted or unfretted instrument. A pull-off is performed on a string which is already vibrating, pull-offs are performed on both fretted instruments and unfretted instruments. The result, a slight quack sound, may be audible when the interval of the pull-off is large. This transition also consumes some of the energy in the sounded string. On most acoustic instruments, this means the note has little sustain. As a result, in music, pull-offs are primarily used as an embellishment. Performers of plucked instruments tend to use pull-offs when playing notes, usually in conjunction with multiple hammer-ons and strumming or picking to produce a rapid. With this type of gear and a powerful instrument amplifier nearing the threshold of feedback. In a variation of the technique, often called a flick-off and this results in the string being gently sounded, either by the players finger callus or by their fretting-finger fingernail. Classical music of the romantic period features numerous applications of the technique to bowed string instruments such as the violin, viola, cello. In the classical context, the term is referred to as left-handed pizzicato, when a player switches from arco to regular pizzicato, the player normally requires a short pause to switch his or her bowing hand into pizzicato position and pluck the string. Left-hand pizzicato appears most prominently in violin virtuoso pieces such as Pablo de Sarasates Zigeunerweisen, the term pull-off was first invented and popularized by Pete Seeger in his book How to Play the 5-String Banjo. Seeger also invented the term hammer-on

23.
Tapping
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Some players use exclusively tapping, and it is standard on some instruments, such as the Chapman Stick. Tapping may be performed either one-handed or two-handed and it is an extended technique, executed by using one hand to tap the strings against the fingerboard, thus producing legato notes. Tapping usually incorporates pull-offs or hammer-ons as well, where the fingers of the left hand play a sequence of notes in synchronization with the tapping hand and this finger would be removed in the same way, pulling off to the fifth fret. Thus the three notes are played in succession at relative ease to the player. While the tapping technique is most often used on guitar, it may be performed on almost any string instrument. The Bunker Touch-Guitar is designed for the tapping technique. The Hamatar, Mobius Megatar, Box Guitar, and Solene instruments are other instruments designed for the same method, the NS/Stick and Warr Guitars are also built for tapping, though not exclusively. The harpejji is an instrument which is played on a stand, like a keyboard. All of these instruments use lower string tension and low action to increase the sensitivity to lighter tapping. Guitarist John 5 Lowery has been known to use it, and has nicknamed it a Spider-Tap, Tapping has existed in some form or another for centuries. Niccolò Paganini utilized similar techniques on the violin, striking the string with a bouncing bow articulated by left-hand pizzicato, similar to two-hand tapping, selpe technique is used in Turkish folk music on the instrument called the bağlama. Tapping techniques and solos on various stringed instruments such as the banjo have been documented in early film, records. The clavichord was an early keyboard instrument that used a mechanical hammer to fret a string for each key. It was followed by a version, the Hohner Clavinet. Various musicians have suggested as the originators of tapping on the guitar. While one of the earliest players to use the technique was Roy Smeck, one of DeArmonds students, Jimmie Webster made recordings in the 1950s using a two-handed tapping method he described in Touch Method for Electric and Amplified Spanish Guitar, published in 1952. 1980s heavy metal player George Lynch has claimed that George Van Eps used tapping in the 1950s, another recorded example of early rock two handed tapping can be heard on Santanas 1970 album Abraxas, starting at 2,02, on the Song Hope Youre Feeling Better. The two-handed tapping technique was known and occasionally used by many 1950s and 1960s jazz guitarists such as Barney Kessel

24.
Bow (music)
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In music, a bow is a tensioned stick with hair affixed to it which is moved across some part of a musical instrument causing vibration, which the instrument emits as sound. The vast majority of bows are used with string instruments, such as the violin, although some bows are used with musical saws and other bowed idiophones. A bow consists of a specially shaped stick with other material forming a ribbon stretched between its ends, which is used to stroke the string and create sound, different musical cultures have adopted various designs for the bow. For instance, in some bows a single cord is stretched between the ends of the stick, in the Western tradition of bow making—bows for the instruments of the violin and viol families—a hank of horsehair is normally employed. The manufacture of bows is considered a craft, and well-made bows command high prices. Part of the bow makers skill is the ability to high quality material for the stick. Historically, Western bows have been made of wood from Brazil. Carbon fiber bows have become popular, and some of the better carbon fiber bows are now comparable to fine pernambuco sticks. For the frog, which holds and adjusts the near end of the horsehair, ebony is most often used, but other materials, often decorative, were used as well, such as ivory and tortoiseshell. Materials such as mother of pearl or abalone shell are used on the slide which covers the mortise. Sometimes Parisian eyes are used, with the circle of shell surrounded by a metal ring, near the frog is the grip, which is made of a wire, silk, or whalebone wrap and a thumb cushion made of leather or snakeskin. The tip plate of the bow may be made of bone, ivory, mammoth ivory, or metal, a bow maker or archetier typically uses between 150 and 200 hairs from the tail of a horse for a violin bow. Bows for other members of the family typically have a wider ribbon. There is a widely held belief among string players, neither proven nor disproven scientifically, lower quality bows often use nylon or synthetic hair. Rosin, or colophony, a hard, sticky substance made from resin, is applied to the bow hair to increase friction. In making a bow, the greater part of the woodworking is done on a straight stick. According to James McKean, the bow maker graduates the stick in precise gradations so that it is evenly flexible throughout and these gradations were originally calculated by François Tourte, discussed below. In order to shape the curve or camber of the bow stick, the maker carefully heats the stick in an alcohol flame, a metal or wooden template is used to get the models exact curve and shape while heating

25.
EBow
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The name Ebow stands for Electronic Bow or Energy Bow). The EBow is an electronic device for playing the electric guitar. The EBow uses a pickup – inductive string driver – feedback circuit, including a sensor coil, driver coil, the Ebow is monophonic, and drives one string at a time, producing a sound reminiscent of using a bow on the strings. In 1976, Heet Sound introduced the first EBow at the NAMM Show, the latest Ebow model is the Plus Ebow, which is switchable between standard mode and harmonic mode. The EBow is used to produce a variety of sounds not playable on a guitar using traditional strumming or picking techniques and these sounds are created by a string driver that gets its input signal by an internal pickup, which works like a guitar pickup. Its output signal is amplified and drives the other coil, which amplifies the string vibrations, with this feedback loop the player can create a continuous string vibration. Fading in and out by lowering and raising the EBow is also possible, starting with the current generation of EBow, the user also gains an additional mode known as harmonic mode, which produces a higher harmonic sound instead of the fundamental note. This is achieved by reversing the phase to the driving coil. Many different artists have used the EBow in a variety of musical styles. One of the first notable users was Genesis guitarist Steve Hackett, another early pioneer of EBow playing was Max Sunyer, who used it in a 1978 live album Iceberg en directe, recorded and released in Spain. It was used later on by Bill Nelson, who introduced it to Stuart Adamson of The Skids, Adamson went on to use it with Big Country, specifically in their song In a Big Country. It has also used on Opeths 2001 album Blackwater Park. Blondie has used it on songs including Fade Away and Radiate. In the 1980s The Bongos used the EBow in the intro of their song Numbers With Wings and also in River To River, Miss Jean, Glow, Flew A Falcon and Sweet Blue Cage. Frontman Richard Barone continues to use an EBow on his subsequent solo recordings and much of his work including his songs Love is a Wind that Screams. While the EBow is not normally used with the bass guitar. He has also known to use two at once. Another instrument that the EBow is sometimes used on is the acoustic guitar

26.
Call and response (music)
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In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the pattern in human communication and is found as a basic element of musical form, such as verse-chorus form. Call and response patterns between two musicians are common in Indian Classical Music, particularly in the style of Jugalbandi, Call and response is likewise widely present in parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the rumba and in the African religious ceremonies. In 1644, lining out – where one person sang a solo and it has influenced popular music singing styles. Scottish Gaelic psalm-singing by precenting the line was the earliest form of congregational singing adopted by Africans in America and it is common in folk traditions of choral singing of many people, especially in African musical cultures. In Cuban music and other Latin music genres such as salsa, call, the form is found in the military cadence or Jody which is used as an a cappella work song or to keep time when marching or running in formation. In Western classical music, call and response is known as antiphony, the phenomenon of call and response is pervasive in modern Western popular music, as well, largely because Western music has been so heavily shaped by African contributions. Cross-over rhythm and blues, rock n roll and rock music exhibit call-and-response characteristics, three examples are The Whos song My Generation, Black Dog by Led Zeppelin, and The Pogues Fairytale of New York. In Indian Film music, Ilaiyaraajas songs largely exhibit call-and-response pattern, but, each A and B part may itself consist of a short call and a short response, and those 2-bar calls and response may also be divided into 1-bar-each call-response pairs. To make an attempt at diagramming it, Twelve bars, A, 4-bar CALL A, 4-bar CALL B, a single leader makes a musical statement, and then the chorus responds together. American bluesman Muddy Waters utilizes call and response in one of his songs, Mannish Boy which is almost entirely leader/chorus call. CALL, Waters vocal, Now when I was a young boy RESPONSE, CALL, Waters, At the age of 5 RESPONSE, CALL, Drop the coin right into the slot. RESPONSE, CALL, You gotta get something thats really hot, RESPONSE, A contemporary example is from Carly Rae Jepsens Call Me Maybe. CALL, Hey I just met you RESPONSE, CALL, And this is crazy RESPONSE, while mostly in the chorus, it can also be heard in the breakdown between the vocals and distorted guitar. Part of the band poses a question, or a phrase that feels unfinished. In the blues, the B section often has a question-and-answer pattern, an example of this is the Christmas song Must Be Santa, CALL, Who laughs this way, ho ho ho. RESPONSE, Santa laughs this way, ho ho ho, a similar question-and-answer exchange occurs in the movie Casablanca between Sam and the band in the song Knock On Wood, CALL, Whos got trouble

27.
Bend (guitar)
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Finger vibrato is vibrato produced on a string instrument by cyclic hand movements. Despite the name, normally the entire hand moves, and sometimes the upper arm. It can also refer to vibrato on some instruments, achieved by lowering one or more fingers over one of the uncovered holes in a trill-like manner. This flattens the note periodically creating the vibrato, there are three types of violin vibrato, finger, wrist, and full-arm. In finger vibrato, the performer only moves his/her fingers, in wrist vibrato, the performer will move the wrist back and forth while keeping the arm in a resting position. In full-arm, the performer pulls his/her arm back and forth on the violin but only minimally changes his/her fingers position, along with using different bodily movements to create vibrato, there are different methods in regards to forward or backward vibrato movements. Vibrato can be achieved by altering the tone of the note being played, varying the pitch however, is the most crucial aspect in vibrato. This can be achieved by altering the note to a higher or lower tone. Moving the finger, wrist, or arm forward or backward primarily determines the tone, moving upwards in pitch is noted as the correct display of vibrato my great violin pedagogues. However, vibrato may also be achieved by moving downward in pitch, throughout the 20th century, finger vibrato was normally used in playing all members of the violin family unless otherwise indicated. Toward the end of the century, playing without vibrato became a more accepted technique in certain contexts, in its pure form, vibrato is usually achieved by twisting the wrist rapidly to bend the note slightly, moving to and from the root note. The speed of the vibrato oftentimes has an effect on the way the note is perceived, with faster vibratos commonly adding tension and stress. The slowest of vibratos can be used to imitate a bowed instrument growing a note after its initial inception, in contemporary music, finger vibrato is also routinely used by classical guitarists on longer notes, to create an impression of a longer sustain. The technique is used by jazz bassists to add depth of tone. Axial vibrato is produced by moving a stopped string with the hand in a direction parallel to its axis. This type of vibrato is used by classical guitarists, but can be performed on any kind of guitar. When a classical guitarist sees the term written in a score. Radial pitch-shifting is produced by moving the string with the fretting hand in a direction perpendicular to its axis

28.
Vibrato
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Vibrato is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music, Vibrato is typically characterised in terms of two factors, the amount of pitch variation and the speed with which the pitch is varied. In singing it can occur spontaneously through variations in the larynx, the vibrato of a string instrument and wind instrument is an imitation of that vocal function. In practice, it is difficult for a singer or musical instrument player to achieve a pure vibrato or tremolo, electronic manipulation or generation of signals makes it easier to achieve or demonstrate pure tremolo or vibrato. A Leslie speaker creates vibrato as a byproduct of tremolo production, as a Leslie speaker is moved by the rotating mechanism on which it is mounted, it moves closer to or farther away from any given object not also mounted on the mechanism. e. However, the size of effect is likely to be tiny compared against the tremolo effect since the distance oscillation is very small. The use of vibrato is intended to add warmth to a note and this can add a shimmer to the sound, with a well-made instrument it may also help a solo player to be heard more clearly when playing with a large orchestra. The rate and extent of the variation in pitch during vibrato is controlled by the performer, wind and bowed instruments generally use vibratos with an extent of less than half a semitone either side. Despite his technique, he was unable to play without vibrato, the featured saxophonist in Benny Goodmans Orchestra, George Auld, was brought in to play the part. Many classical musicians, especially singers and string players, have a similar problem, the use of vibrato in classical music is a matter of some dispute. For much of the 20th century it was used almost continuously in the performance of pieces from all eras from the Baroque onwards, especially by singers, a drastic change in approach cannot be understood wholly without regarding the rise of notionally historically informed performance from the 1970s onwards. However, there is no proof that singers performed without vibrato in the baroque era. Vocal music of the renaissance is almost never sung with vibrato as a rule, there are only a few texts from the period on vocal production, but they all condemn excessive use of vibrato. However, it should be understood that vibrato occurs over a range of intensities, slow, fast, wide. Leopold Mozart’s Versuch einer gründlichen Violinschule, for example, provides an indication of the state of vibrato in string playing at the end of the baroque period. This however, does not give anything more than an indication of Mozarts own personal taste, in this respect he resembles his contemporary, Francesco Geminiani, who advocated using vibrato as frequently as possible on short notes for this purpose. Certain types of vibrato, then, were seen as an ornament, in wind playing too, it seems that vibrato in music up to the 20th century was seen as an ornament to be used selectively. Martin Agricola writing in his Musica instrumentalis deudsch writes of vibrato in this way, occasionally, composers up to the baroque period indicated vibrato with a wavy line in the sheet music

29.
Slide (guitar technique)
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Slide guitar is a particular method or technique for playing the guitar. Instead of altering the pitch of the strings in the manner, an object called a slide is placed upon the string to vary its vibrating length. This slide can then be moved along the string without lifting, creating smooth transitions in pitch and allowing wide, Slide guitar is most often played, With the guitar in the normal position, using a slide on one of the fingers of the left hand. This same technique is used to play steel guitar and the Dobro resonator guitar used in Bluegrass music. The technique of using a slide on a string has been traced to one-stringed African instruments similar to a Diddley bow, the technique was made popular by African American blues artists. The first musician recorded using the style was Sylvester Weaver, who recorded two solo pieces Guitar Blues and Guitar Rag in 1923, Blues legend Muddy Waters was also very influential, particularly in developing the electric Chicago blues slide guitar from the acoustic Mississippi Delta slide guitar. Texas blues musician Johnny Winter developed his style through years of touring with Waters. Slide player Roy Rogers honed his skills by touring with blues artist John Lee Hooker. John Lees cousin Earl Hooker may have been the first to use wah-wah, the sound has since become commonplace in country and Hawaiian music. The Rolling Stones featured a guitar as early as their 1963 recording of the John Lennon/Paul McCartney song I Wanna Be Your Man. Guitarist Brian Jones played slide in a very blues-oriented style, Jones was also one of the first English guitarists to play slide and during the bands early years, he was considered one of the best slide guitarists in the music world. His successors Mick Taylor and Ronnie Wood also displayed their own slide guitar skills while with the band, the album Let It Bleed features Keith Richards on slide guitar for the majority of the album, since the band were in-between guitarists during the making of the album. Rolling Stones vocalist Mick Jagger has also played guitar on occasion. Canned Heats Alan Wilson also helped bring slide guitar to music in the late 1960s. George Harrison experimented with slide guitar during the half of The Beatles career, first using the technique on an early outtake recording of Strawberry Fields Forever. The 1965 songs Drive My Car, and Run For Your Life have slide guitar, Harrison later used slide extensively in his solo career, on songs such as My Sweet Lord, Give Me Love, This Is Love, and Cheer Down. He played slide in the Traveling Wilburys as well as on The Beatles 1995 and 1996 reunion singles Free as a Bird, slides may be used on any guitar, but slides generally and steels in particular are often used on instruments specifically made to play in this manner. Often, the strings are raised a little higher off the fingerboard than they would be for conventional guitar playing—especially if the player isnt going to use the fingers for fretting

30.
Jazz guitar
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The term jazz guitar may refer to either a type of guitar or to the variety of guitar playing styles used in the various genres which are commonly termed jazz. The jazz-type guitar was born as a result of using electric amplification to increase the volume of acoustic guitars. Conceived in the early 1930s, the guitar became a necessity as jazz musicians sought to amplify their sound to be heard over loud big bands. When guitarists in big bands only had acoustic guitars, all they could do was play chords, once guitarists switched from acoustic guitar to electric guitar and began using guitar amplifiers, it made the guitar much easier to hear, which enabled guitarists to play guitar solos. Arguably, no musical instrument had greater influence on how jazz evolved since the beginning of the twentieth century. Traditionally, jazz guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes, a floating bridge. Solid body guitars, mass-produced since the early 1950s, are also used, Jazz guitar playing styles include comping with jazz chord voicings and blowing over jazz chord progressions with jazz-style phrasing and ornaments. Comping refers to playing chords underneath a melody or another musicians solo improvisations. When jazz guitar players improvise, they may use the scales, modes, the stringed, chord-playing rhythm can be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a popular instrument in the early 20th century. The Gibson L5, an acoustic guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. During the late 1930s and through the 1940s—the heyday of big band jazz, some guitarists, such as Freddie Green of Count Basie’s band, developed a guitar-specific style of accompaniment. Few of the big bands, however, featured amplified guitar solos, improved electric guitars such as Gibson’s ES-175, gave players a larger variety of tonal options. In the 1940s through the 1960s, players such as Wes Montgomery, Joe Pass, as jazz-rock fusion emerged in the early 1970s, many players switched to the more rock-oriented solid body guitars. Other jazz guitarists, like Grant Green and Wes Montgomery, turned to applying their skills to pop-oriented styles that fused jazz with soul and R&B, younger jazz musicians rode the surge of electric popular genres such as blues, rock, and funk to reach new audiences. Fusion players such as John McLaughlin adopted the fluid, powerful sound of guitarists such as Clapton. McLaughlin was an innovator, incorporating hard jazz with the new sounds of Clapton, Hendrix, Beck. Guitarists such as Pat Martino, Al Di Meola, Larry Coryell, John Abercrombie, John Scofield, in addition, they also simply turned up to full volume in order to create natural overdrive such as the blues rock players

31.
Swing music
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Swing music, or simply swing, is a form of American music that dominated in the 1930s and 1940s. The name swing came from the swing feel where the emphasis is on the off–beat or weaker pulse in the music, Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, the verb to swing is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the era include Louis Armstrong, Cab Calloway, Benny Goodman, Duke Ellington, Glenn Miller, Count Basie, Woody Herman. Swing has roots in the late 1920s as larger ensembles began using written arrangements, a typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely tied wind and brass. The most common style consisted of having a soloist take center stage, Swing music began to decline in popularity during World War II because of several factors. By the late 1940s, swing had morphed into traditional pop music, or evolved into new styles such as jump blues, Swing music saw a revival in the late 1950s and 1960s with pop vocalists such as Frank Sinatra, Nat King Cole, and Ella Fitzgerald. Swing blended with other genres to create new styles, in country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced many elements of swing along with blues to create a genre called western swing. Gypsy swing is an outgrowth of Venuti and Langs jazz violin swing, in the 1970s, and 1980s, fans of big band music attended swing music performances at supper clubs. In the late-1980s a trendier, more urban-styled swing-beat emerged called new jack swing, in the late 1990s and into the 2000s there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer, Big Bad Voodoo Daddy, and Lavay Smith. In Canada, some of the early 2000s records by The JW-Jones Blues Band included swing revival elements, the 1920s saw parallel trends in jazz and popular music that would later converge into the swing style. New Orleans style jazz was based on a meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet. The rhythm section consisted of a tuba and drums, and sometimes a banjo, by the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the tuba. Further innovations in small ensemble playing led to development of the Chicago style identified with Louis Armstrong, a stint with the Fletcher Henderson Orchestra familiarized him with arranged ensemble playing that differed from the New Orleans style, in which saxophones became the dominant sound among the reeds. Armstrong brought those back to his smaller ensembles, the soloist played over an ensemble relegated to a supporting role in the background. The string bass also lent itself to playing in a 4/4 rhythm rather than the 2/4 rhythm dictated by the tuba. The new format gave the soloist the opportunity to play with more rhythmic freedom, but playing with swing remained the province of the soloist, not the ensemble. The late 1920s saw increasingly sophisticated arrangements used by bigger ensembles, some arrangements used call-response between horn sections to build the melody

32.
Wes Montgomery
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John Leslie Wes Montgomery was an American jazz guitarist. He is widely considered one of the jazz guitarists, emerging after such seminal figures as Django Reinhardtand Charlie Christian. Montgomery was known for a technique of plucking the strings with the side of his thumb which granted him a distinctive sound. He often worked with organist Jimmy Smith, and with his brothers Buddy, and his guitar style is the roots of fusion and smooth jazz. Montgomery was born in Indianapolis, Indiana, according to NPR Jazz Profiles The Life and Music Of Wes Montgomery, the nickname Wes was a childs abbreviation of his middle name, Leslie. He came from a family, his brothers, Monk. The brothers released a number of albums together as the Montgomery Brothers, although he was not skilled at reading music, he could learn complex melodies and riffs by ear. He was known for his ability to play Christians solos note for note and was hired by Lionel Hampton for this ability, Montgomery toured with Lionel Hampton early in his career, however, the combined stress of touring and being away from family took him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7,00 am to 3,00 pm, cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a contract with Riverside Records. Adderley later recorded with Montgomery on his Pollwinners album, Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis. John Coltrane asked Montgomery to join his band after a jam session, boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith, during this late period he occasionally turned out original material alongside jazzy orchestral arrangements of pop songs. In sum, this period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings. To many, Montgomerys playing defines jazz guitar and the sound that try to emulate. Jazz guitarist Bobby Broom, in a history of Montgomerys impact on musicians and guitarists in Jazz, notes. Its been called its most prolific year and its been called the year Jazz died. One figure that is grossly ignored, is the iconic Wes Montgomery, the Jazz guitarist from Indianapolis who emerged in 1959 with his first trio record

33.
Pentatonic
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A pentatonic scale is a musical scale or mode with five notes per octave in contrast to a heptatonic scale such as the major scale and minor scale. Pentatonic scales are common and are found all over the world. They are divided into those with semitones and those without, examples of its use include Chopins Etude in G-flat major, op. 5, the Black Key etude, in the major pentatonic, musicology commonly classifies pentatonic scales as either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones, for example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale. Hemitonic pentatonic scales are also called ditonic scales, because the largest interval in them is the ditone and this should not be confused with the identical term also used by musicologists to describe a scale including only two notes. Anhemitonic pentatonic scales can be constructed in many ways, the major pentatonic scale may be thought of as a gapped or incomplete major scale. However, the scale has a unique character and is complete in terms of tonality. Another construction works backward, It omits two pitches from a diatonic scale, if one were to begin with a C major scale, for example, one might omit the fourth and the seventh scale degrees, F and B. The remaining notes then makes up the major scale, C, D, E, G. Omitting the third and seventh degrees of the C major scale obtains the notes for another transpositionally equivalent anhemitonic pentatonic scale, omitting the first and fourth degrees of the C major scale gives a third anhemitonic pentatonic scale, G, A, B, D, E. The black keys on a piano keyboard comprise a G-flat major pentatonic scale, G-flat, A-flat, B-flat, D-flat, and E-flat and it may also be considered a gapped blues scale. The C minor pentatonic is C, E-flat, F, G, the A minor pentatonic, the relative minor of C, comprises the same tones as the C major pentatonic, starting on A, giving A, C, D, E, G. This minor pentatonic contains all three tones of an A minor triad, because of their simplicity, pentatonic scales are often used to introduce beginners to music. The five pentatonic scales found by running up the keys on the piano are. This may be derived by proceeding with the principle that gives the Pythagorean diatonic and chromatic scales. Considering the anhemitonic scale as a subset of a just diatonic scale, assigning precise frequency proportions to the pentatonic scales of most cultures is problematic as tuning may be variable. Composer Lou Harrison has been one of the most recent proponents, Harrison and William Colvig tuned the slendro scale of the gamelan Si Betty to overtones 16,19,21,24,28

34.
Blues scale
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The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. The hexatonic, or six-note, blues scale consists of the pentatonic scale plus the ♭5th degree. At its most basic, a version of this blues scale is commonly used over all changes in a twelve bar blues progression. Likewise, in jazz theory, its use is commonly based upon the key rather than the individual chord. The evolution of this scale may be traced back to Asia through native North America with the addition of the flat 5 blue note, greenblatt defines two blues scales, the major and the minor. The major blues scale is C, D, D♯/E♭, E, G, A, the latter is the hexatonic scale. Steven Smith argues that, to assign blue notes to a scale is a momentous mistake, then, after all. It is the 2nd mode of the Harmonic Minor scale and these blue notes represent the influence of African scales on this music. A different and non-formal way of playing the scale is possible by use of quarter step, added to 3rd and 7th degree of minor blues scale. For example, the scale Blues A minor will be as, A B C D E F# G. Also, guitar players can add a quarter step to a given note by bend technique. In jazz, the scale is used by improvising musicians in a variety of harmonic contexts. It can be played for the duration of a twelve bar blues progression constructed off the root of the first dominant seventh chord. For example, a C hexatonic blues scale could be used to improvise a solo over a C blues chord progression, the blues scale can also be used to improvise over a minor chord. Jazz educator Jamey Aebersold describes the sound and feel of the scale as ‘funky, ’ ‘down-home, ’ ‘earthy

35.
Jimi Hendrix
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James Marshall Jimi Hendrix was an American rock guitarist, singer, and songwriter. The Rock and Roll Hall of Fame describes him as arguably the greatest instrumentalist in the history of rock music, born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the U. S. Army and trained as a paratrooper in the 101st Airborne Division, within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience, Hey Joe, Purple Haze, and The Wind Cries Mary. Hendrix was inspired musically by American rock and roll and electric blues and he favored overdriven amplifiers with high volume and gain, and was instrumental in utilizing the previously undesirable sounds caused by guitar amplifier feedback. He helped to popularize the use of a pedal in mainstream rock. Holly George-Warren of Rolling Stone commented, Hendrix pioneered the use of the instrument as a sound source. Hendrix was the recipient of several awards during his lifetime. In 1967, readers of Melody Maker voted him the Pop Musician of the Year, disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992, Jimi Hendrix was of African American descent. Both his mother Lucille and father Al were African Americans and his paternal grandmother, Zenora Nora Rose Moore, was African American and one-quarter Cherokee. On June 10,1919, Hendrix and Moore had a son they named James Allen Ross Hendrix, in 1941, Al met Lucille Jeter at a dance in Seattle, they married on March 31,1942. Al, who had been drafted by the U. S. Army to serve in World War II, Johnny Allen Hendrix was born on November 27,1942, in Seattle, he was the first of Lucilles five children. In 1946, Johnnys parents changed his name to James Marshall Hendrix, in honor of Al and he spent two months locked up without trial, and while in the stockade received a telegram announcing his sons birth. During Als three-year absence, Lucille struggled to raise their son, when Al was away, Hendrix was mostly cared for by family members and friends, especially Lucilles sister Delores Hall and her friend Dorothy Harding. Al received a discharge from the U. S. Army on September 1,1945. After returning from service, Al reunited with Lucille, but his inability to find steady work left the family impoverished and they both struggled with alcohol, and often fought when intoxicated. The violence sometimes drove Hendrix to withdraw and hide in a closet in their home and his relationship with his brother Leon was close but precarious, with Leon in and out of foster care, they lived with an almost constant threat of fraternal separation. In addition to Leon, Hendrix had three siblings, Joseph, born in 1949, Kathy in 1950, and Pamela,1951, all of whom Al and Lucille gave up to foster care

36.
Guitar shredding
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Shred guitar or shredding is a virtuoso lead guitar solo playing style for the guitar, based on various fast playing techniques. It is commonly used reference to heavy metal guitar playing. The term is used with reference to virtuoso playing outside the metal idiom, particularly in bluegrass. Ritchie Blackmore, best known as the guitarist of Deep Purple and he founded Deep Purple in 1968 and combined elements of blues, jazz and classical into his high speed rock guitar playing. Songs like Highway Star or Burn from Deep Purple and Gates of Babylon from Rainbow are great examples of early shred, Blackmore separated himself from the pack with his use of complex arpeggios and harmonic minor scales. His influence on Randy Rhoads and Yngwie Malmsteen was definitive for the evolution of the genre, in 1969, guitarist Jimmy Page from Led Zeppelin composed Heartbreaker, his guitar solo introduced many techniques mixed together. Page included excerpts of music in the solo when playing it live. Steve Vai commented about it in a September 1998 Guitar World interview and it was defiant, bold, and edgier than hell. It really is the rock guitar solo. In 1974, the German band Scorpions used their new guitarist Ulrich Roth for their album Fly to the Rainbow, One of the most menacing and powerful whammy-bar dive bombs ever recorded. A year later, Roths solo guitar playing for the album In Trance. would become the prototype for shred guitar, everything associated with the genre can be found on this brilliant collection of songs—sweep-picked arpeggios, harmonic minor scales, finger-tapping and. In 1979, Roth left Scorpions to begin his own power trio, Chris Yancik argues that it is this record, above any other, that spawned the genre of Shred. Guitar Players article Blast Into Hyperspace With The Otherworldly Power Of Shred reviews the book Shred. and states that the pioneers were Ritchie Blackmore, Al Di Meola, Randy Rhoads, Yngwie Malmsteen and Les Townsend advanced this style further with the infusion of Neo-classical elements. Progressive rock, heavy metal, hard rock, and jazz fusion have all made use of, in general, the phrase shred guitar has been traditionally associated with instrumental rock and heavy metal guitarists. This association has become less common now that modern forms of metal have adopted shredding as well, in the 1990s, its mainstream appeal diminished with the rise of grunge and nu metal, both of which eschewed flashy lead guitar solos. Underground acts like Shawn Lane and Buckethead continued to develop the genre further, the genre was redefined as industrial shred by guitarist Irron R. Collins IV, who mixed neo-classical shred and industrial metal. Its like this burst of energy that just comes out in extremely fast tearing kind of playing where the notes actually connect. Shred has to have a kind of tide to it, I think

37.
Tremolo bar
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A variety of mechanical vibrato systems for guitar have been developed since the 1930s. They are used to add vibrato to the sound by changing the tension of the strings, the lever enables the player to quickly vary the tension and sometimes the length of the strings temporarily, changing the pitch to create a vibrato, portamento or pitch bend effect. Instruments without this device have other bridge and tailpiece systems, however, it has also made many sounds possible that could not be produced by the old technique, such as the 1980s-era shred guitar dive bombing effect. In the 1960s and 1970s, vibrato arms were used for more pronounced effects by Jimi Hendrix, Jeff Beck, David Gilmour, Ritchie Blackmore, Jimmy Page, and Frank Zappa. The pitch-bending effects, whether subtle inflections or exaggerated effects, have become an important part of many styles of electric guitar, terje Rypdal, David Torn and David Duhig have added to the language and extended techniques of vibrato bar usage. Guitars equipped with any system can be harder to re-string, tune. Historically, some guitarists have reversed the normal meanings of the terms vibrato and tremolo when referring to hardware devices. This reversal of terminology is generally attributed to Leo Fender and the naming of the Fender Vibroverb amplifier, see vibrato unit for details of the history of these terms in relation to electric guitar, and related issues. Ironically, Fender had previously introduced the Tremolux amplifier in 1953, while the tremolo arm can produce variations of pitch including what is normally termed vibrato, it can never produce the effect normally known as tremolo. Tremolo, on the hand, is exactly the effect produced by the electronic vibrato units built into many classic guitar amplifiers. The G&L Dual-fulcrum Vibrato, designed by Leo Fender, the Fender Floating Bridge, which has two main variants, The Fender Floating Tremolo or jag trem, introduced on the Fender Jazzmaster. The Fender Dynamic Vibrato or stang trem, introduced on the Fender Mustang, cam-driven designs based on pedal steel guitar concepts, including, The Kahler Tremolo System. Many other designs exist in smaller numbers, notably several original designs marketed by Gibson under the Vibrola name, a design patented in 2006 from Trem King uses a fixed bridge with a moving tone block. One of the first mechanical vibrato units was the Vibrola, invented by Doc Kauffman and his Vibrola was first offered to the general public by the Epiphone guitar company as an option on some archtop guitars from 1935 to 1937. Epiphone sold the Vibrola as an option as well. This Vibrola was also used on some Rickenbacker lap steel guitars at around the time and was introduced on their six string electric guitars beginning about 1937. The Vibrola distributed as an option with Rickenbacker Electro Spanish guitars was hand operated like the earliest Epiphone Vibrolas, a later unit was created and used on Rickenbackers Capri line of guitars in the 1950s, such as John Lennons 1958 Rickenbacker 325. It was a side-to-side action vibrato unit that was notorious for throwing the guitar out of tune, hence Lennons replacing his with a Bigsby B5 unit, then later with Accent Vibrola unit

38.
Al Di Meola
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Al Di Meola is an American jazz fusion and Latin jazz guitarist, composer, and record producer of Italian origin. Albums such as Friday Night in San Francisco have earned him both artistic and commercial success with a fan base throughout the world. Di Meola grew up in Bergenfield, New Jersey, and attended Bergenfield High School and he has been a resident of Old Tappan, New Jersey. Having grown up with the music of Elvis Presley, The Ventures and The Beatles. By his early teens, he was already an accomplished player. He was soon taken with Larry Coryell’s blending of jazz, blues and rock in the late 1960s, which would become known as fusion, in 1972, Di Meola enrolled in Berklee College of Music in Boston, Massachusetts. By his second semester at Berklee, Al had joined a fusion quartet headed by keyboardist Barry Miles, in 1974, Di Meola made his Return to Forever debut on the album Where Have I Known You Before. Two more albums, No Mystery and Romantic Warrior were released during Di Meolas stay in the band and this lineup featured him playing with Corea, Stanley Clarke, and Lenny White until it was disbanded in 1976. Di Meola went on to explore a variety of styles, but is most noted for his Latin-influenced jazz fusion works and he also guested on Allergies from Paul Simons Hearts and Bones album. He also appeared with Frank Zappa, live at the Ritz, NYNY in 1981. In the beginning of his career, as evidenced on his first solo album Land of the Midnight Sun, Di Meola was noted for his mastery and extremely fast, complex guitar solos. But even on his albums, he had begun to explore Mediterranean cultures. Good examples are Mediterranean Sundance and Lady of Rome, Sister of Brazil from the Elegant Gypsy album and his early albums were very influential among rock and jazz guitarists alike. Di Meola continued to explore Latin music within the jazz fusion genre on albums like Casino, the latter album became one of the most popular live albums for acoustic guitar ever recorded, and sold more than two million copies worldwide. In 1980, he toured with fellow Latin rocker Carlos Santana. After being named Best Jazz Guitarist in Guitar Player Magazines Readers Poll for a consecutive year in 1981. With Scenario, he explored the electronic side of jazz in a collaboration with Jan Hammer, beginning with this change, he further expanded his horizons with the acoustic album Cielo e Terra. He began to incorporate the Synclavier guitar synthesizer on mid-1980s albums such as Soaring Through a Dream, by the 1990s, Di Meola recorded albums closer to World music and modern Latin styles than jazz

39.
Return to Forever
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Return to Forever is a jazz fusion group founded and led by pianist Chick Corea. Through its existence, the band has had many members, with the only consistent bandmate of Coreas being bassist Stanley Clarke, along with Weather Report and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola, however, in 1972, after having become a member of Scientology, Corea decided that he wanted to better communicate with the audience. This essentially translated into his performing a more accessible style of music. The first edition of Return to Forever performed primarily Latin-oriented music, within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Coreas electric piano formed the basis of this sound, he was yet to discover synthesizers. Clarke and Farrell were given ample solo space themselves, while Purims vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the track of the second album which was written by Stanley Clarke. Lyrics were often written by Coreas friend Neville Potter, and were quite often Scientology-themed, Clarke himself became involved in Scientology through Corea, but eventually left the religion in the early 1980s. Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was released only in Europe. This album featured Coreas now famous compositions Crystal Silence and La Fiesta and their second album, Light as a Feather, was released by Polydor and included the song Spain, which also became quite well known. After the second album, Farrell, Purim and Moreira left the group to form their own band, however, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White replaced Gadd and Lewis on drums and percussion, and their music was still relatively melodic, relying on strong themes, but the jazz element was by this time almost entirely absent, replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had become prominent in the bands new sound. A replacement on vocals was not hired, and all the songs were now instrumentals and this change did not lead to a decrease in the bands commercial fortunes however, Return to Forevers jazz rock albums instead found their way onto US pop album charts. In the September 1988 Down Beat magazine interview with Chick Corea by Josef Woodward, Josef says, Miles crystallized electric jazz fusion and that he sent his emissaries out. But there were things that occurred that I thought were equally as important. What John McLaughlin did with the electric guitar set the world on its ear, No one ever heard an electric guitar played like that before, and it certainly inspired me

40.
Shred guitar
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Shred guitar or shredding is a virtuoso lead guitar solo playing style for the guitar, based on various fast playing techniques. It is commonly used reference to heavy metal guitar playing. The term is used with reference to virtuoso playing outside the metal idiom, particularly in bluegrass. Ritchie Blackmore, best known as the guitarist of Deep Purple and he founded Deep Purple in 1968 and combined elements of blues, jazz and classical into his high speed rock guitar playing. Songs like Highway Star or Burn from Deep Purple and Gates of Babylon from Rainbow are great examples of early shred, Blackmore separated himself from the pack with his use of complex arpeggios and harmonic minor scales. His influence on Randy Rhoads and Yngwie Malmsteen was definitive for the evolution of the genre, in 1969, guitarist Jimmy Page from Led Zeppelin composed Heartbreaker, his guitar solo introduced many techniques mixed together. Page included excerpts of music in the solo when playing it live. Steve Vai commented about it in a September 1998 Guitar World interview and it was defiant, bold, and edgier than hell. It really is the rock guitar solo. In 1974, the German band Scorpions used their new guitarist Ulrich Roth for their album Fly to the Rainbow, One of the most menacing and powerful whammy-bar dive bombs ever recorded. A year later, Roths solo guitar playing for the album In Trance. would become the prototype for shred guitar, everything associated with the genre can be found on this brilliant collection of songs—sweep-picked arpeggios, harmonic minor scales, finger-tapping and. In 1979, Roth left Scorpions to begin his own power trio, Chris Yancik argues that it is this record, above any other, that spawned the genre of Shred. Guitar Players article Blast Into Hyperspace With The Otherworldly Power Of Shred reviews the book Shred. and states that the pioneers were Ritchie Blackmore, Al Di Meola, Randy Rhoads, Yngwie Malmsteen and Les Townsend advanced this style further with the infusion of Neo-classical elements. Progressive rock, heavy metal, hard rock, and jazz fusion have all made use of, in general, the phrase shred guitar has been traditionally associated with instrumental rock and heavy metal guitarists. This association has become less common now that modern forms of metal have adopted shredding as well, in the 1990s, its mainstream appeal diminished with the rise of grunge and nu metal, both of which eschewed flashy lead guitar solos. Underground acts like Shawn Lane and Buckethead continued to develop the genre further, the genre was redefined as industrial shred by guitarist Irron R. Collins IV, who mixed neo-classical shred and industrial metal. Its like this burst of energy that just comes out in extremely fast tearing kind of playing where the notes actually connect. Shred has to have a kind of tide to it, I think

41.
Improvisation
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Improvisation is the term for the action of improvising. In a technical context, this can mean adapting a device for use other than that which it was designed for, or building a device from unusual components in an ad-hoc fashion. Improvisation, within the context of performing arts, is a spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to different faculties, across all artistic, scientific, physical, cognitive, academic. Musical improvisation is usually defined as the composition of music, without prior preparation, improvisational comedy is a theatre art performed throughout the world and has had on-again, off-again status throughout history. Dance improvisation is frequently used as a choreographic tool, choreography is also frequently used as a tool for improvisation. Improvisation also exists outside the arts, Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Improvised weapons are used by guerrillas, insurgents and criminals. Improvisation in engineering is to solve a problem with the tools and materials immediately at hand, engineering improvisations may be needed because of emergencies, embargo, obsolescence of a product and the loss of manufacturer support, or just a lack of funding appropriate for a better solution. Users of motor vehicles in parts of Africa develop improvised solutions where it is not feasible to obtain manufacturer-approved spare parts. The popular television program MacGyver used as its gimmick a hero who could solve almost any problem with jury rigged devices from everyday materials, a Swiss Army knife and some duct tape. Improvisation can be thought of as an on the spot or off the cuff spontaneous moment of sudden inventiveness that can just come to mind, body, no preparation or training is needed. However, improvisation in any life or art form, can more often if it is practiced as a way of encouraging creative behavior. That practice includes learning to use ones intuition, as well as learning a technical understanding of the necessary skills and this can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act. Improvisation was originally used on dramatic television. Techniques of improvisation are used in training for performing arts or entertainment, for example, music, theatre. To extemporize or ad lib is basically the same as improvising, colloquial terms such as lets play it by the ear, take it as it comes, and make it up as we go along are all used to describe improvisation. Where the improvisation is intended to solve a problem on a temporary basis and this applies to the field of engineering

42.
Musical note
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In music, the term note has three primary meanings, A sign used in musical notation to represent the relative duration and pitch of a sound, A pitched sound itself. Notes are the blocks of much written music, discretizations of musical phenomena that facilitate performance, comprehension. In the former case, one note to refer to a specific musical event, in the latter. Two notes with fundamental frequencies in an equal to any integer power of two are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the pitch class. However, within the English-speaking and Dutch-speaking world, pitch classes are represented by the first seven letters of the Latin alphabet. A few European countries, including Germany, adopt an almost identical notation, the eighth note, or octave, is given the same name as the first, but has double its frequency. The name octave is also used to indicate the span between a note and another with double frequency, for example, the now-standard tuning pitch for most Western music,440 Hz, is named a′ or A4. There are two systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation. Letter names are modified by the accidentals, a sharp ♯ raises a note by a semitone or half-step, and a flat ♭ lowers it by the same amount. In modern tuning a half step has a ratio of 12√2. The accidentals are written after the name, so, for example, F♯ represents F-sharp, B♭ is B-flat. Additional accidentals are the double-sharp, raising the frequency by two semitones, and double-flat, lowering it by that amount, in musical notation, accidentals are placed before the note symbols. Systematic alterations to the seven lettered pitches in the scale can be indicated by placing the symbols in the key signature, explicitly noted accidentals can be used to override this effect for the remainder of a bar. A special accidental, the natural symbol ♮, is used to indicate an unmodified pitch, effects of key signature and local accidentals do not accumulate. If the key signature indicates G♯, a flat before a G makes it G♭, though often this type of rare accidental is expressed as a natural. Likewise, a sharp sign on a key signature with a single sharp ♯ indicates only a double sharp. Assuming enharmonicity, many accidentals will create equivalences between pitches that are written differently, for instance, raising the note B to B♯ is equal to the note C

43.
Unison
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UNISON is the second largest trade union in the United Kingdom with almost 1.3 million members. UNISONs current general secretary is Dave Prentis and he was elected on 28 February 2000 and took up the post on 1 January 2001, succeeding Rodney Bickerstaffe who had held the post for five years. Members of UNISON are typically from industries within the public sector, the majority of people joining UNISON are workers within sectors such as local government, education, the National Health Service Registered Nurses, NHS Managers and Clinical Support Workers. The union also admits ancillary staff such as Health Care Assistants and Assistant Practitioners, probation services, police services, utilities, and transport. These Service Groups all have their own national and regional democratic structures within UNISONs constitution, as a trade union, UNISON provides support to members on work related issues, including protection and representation at work, help with pay and conditions of service and legal advice. Each company or organisation will usually be represented by a particular UNISON branch, the stewards receive training in workplace issues and are then able to co-ordinate and represent members both on an individual basis and collectively. Each branch is run by an elected committee of members which holds regular meetings. UNISON own and operate a resort, UNISON Croyde Bay Resort. Members receive a 15% discount as well as have access to a 50% low paid member discount scheme, to encourage all voices to be heard UNISON has self organised groups of Black members, women members, lesbian, gay, bisexual & transgender members, and disabled members. Young members and retired members also have their own sections within the union, membership numbers have remained relatively stable at between 1.2 and 1.4 million in the decade to 2014. The levels of subscription are determined by the National Delegate Conference and are recorded as a Schedule in the union rules, the National Delegate Conference has the power to vary the subscriptions levied after a majority vote, although the subscription rates do not change frequently. Local branches may also, after a majority vote of members and this is in addition to the standard rate, and must be used for local branch purposes. Membership fees vary depending on how members are paid and the level of their current salary. Subscriptions are generally paid by what is known as check-off or DOCAS. This is where the employer deducts the contribution from the salary on behalf of the union. Payment is taken by Direct Debit if the member joins online, if the member requests it. Student members in full-time education have a fixed rate subscription of £10 per year, Members who have had continuous membership for at least two years may opt to pay a one-off fee of £15 upon retirement from paid employment. This allows them to retain the benefits of being a member for life

44.
Electronics
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Electronics is the science of controlling electrical energy electrically, in which the electrons have a fundamental role. Commonly, electronic devices contain circuitry consisting primarily or exclusively of active semiconductors supplemented with passive elements, the science of electronics is also considered to be a branch of physics and electrical engineering. The ability of electronic devices to act as switches makes digital information processing possible, until 1950 this field was called radio technology because its principal application was the design and theory of radio transmitters, receivers, and vacuum tubes. Today, most electronic devices use semiconductor components to perform electron control and this article focuses on engineering aspects of electronics. Components are generally intended to be connected together, usually by being soldered to a circuit board. Components may be packaged singly, or in more complex groups as integrated circuits, some common electronic components are capacitors, inductors, resistors, diodes, transistors, etc. Components are often categorized as active or passive, vacuum tubes were among the earliest electronic components. They were almost solely responsible for the revolution of the first half of the Twentieth Century. They took electronics from parlor tricks and gave us radio, television, phonographs, radar, long distance telephony and they played a leading role in the field of microwave and high power transmission as well as television receivers until the middle of the 1980s. Since that time, solid state devices have all but completely taken over, vacuum tubes are still used in some specialist applications such as high power RF amplifiers, cathode ray tubes, specialist audio equipment, guitar amplifiers and some microwave devices. The 608 contained more than 3,000 germanium transistors, thomas J. Watson Jr. ordered all future IBM products to use transistors in their design. From that time on transistors were almost exclusively used for computer logic, circuits and components can be divided into two groups, analog and digital. A particular device may consist of circuitry that has one or the other or a mix of the two types, most analog electronic appliances, such as radio receivers, are constructed from combinations of a few types of basic circuits. Analog circuits use a range of voltage or current as opposed to discrete levels as in digital circuits. The number of different analog circuits so far devised is huge, especially because a circuit can be defined as anything from a single component, analog circuits are sometimes called linear circuits although many non-linear effects are used in analog circuits such as mixers, modulators, etc. Good examples of analog circuits include vacuum tube and transistor amplifiers, one rarely finds modern circuits that are entirely analog. These days analog circuitry may use digital or even microprocessor techniques to improve performance and this type of circuit is usually called mixed signal rather than analog or digital. Sometimes it may be difficult to differentiate between analog and digital circuits as they have elements of both linear and non-linear operation, an example is the comparator which takes in a continuous range of voltage but only outputs one of two levels as in a digital circuit

45.
Special effects
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Special effects are illusions or visual tricks used in the film, television, theatre, video game, and simulator industries to simulate the imagined events in a story or virtual world. Special effects are divided into the categories of optical effects. Mechanical effects are usually accomplished during the live-action shooting and this includes the use of mechanized props, scenery, scale models, animatronics, pyrotechnics and atmospheric effects, creating physical wind, rain, fog, snow, clouds, etc. Making a car appear to drive by itself and blowing up a building are examples of mechanical effects, mechanical effects are often incorporated into set design and makeup. For example, a set may be built with doors or walls to enhance a fight scene. An optical effect might be used to place actors or sets against a different background, since the 1990s, computer generated imagery has come to the forefront of special effects technologies. It gives filmmakers greater control, and allows many effects to be accomplished safely and convincingly and—as technology improves—at lower costs. As a result, many optical and mechanical effects techniques have been superseded by CGI, in 1857, Oscar Rejlander created the worlds first special effects movie by combining different sections of 30 negatives into a single image. In 1895, Alfred Clark created what is accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, as the executioner brought the axe above his head, Clark stopped the camera, had all of the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the place, restarted filming. Techniques like these would dominate the production of special effects for a century and it wasnt only the first use of trickery in cinema, it was also the first type of photographic trickery only possible in a motion picture, i. e. the stop trick. Georges Méliès accidentally discovered the same stop trick, according to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the trick had caused a truck to turn into a hearse, pedestrians to change direction. Because of his ability to manipulate and transform reality with the cinematograph. From 1910 to 1920, the innovations in special effects were the improvements on the matte shot by Norman Dawn. With the original matte shot, pieces of cardboard were placed to block the exposure of the film, Dawn combined this technique with the glass shot. Rather than using cardboard to block certain areas of the film exposure, from the partially exposed film, a single frame is then projected onto an easel, where the matte is then drawn

Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a typ

1.
Illustration in a Carolingian psalter from the 9th century showing an instrument of the chordophone family, most probably a lute

2.
A classical guitar with nylon strings

3.
A guitarra latina (left) and a guitarra morisca (right), Spain, 13th century

4.
Guitar collection in Museu de la Música de Barcelona

Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodi

1.
" Pop Goes the Weasel " melody Play (help · info)

Fill (music)
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In popular music, a fill is a short musical passage, riff, or rhythmic sound which helps to sustain the listeners attention during a break between the phrases of a melody. While riffs are repeated, fills tend to be varied over the course of a song. For example, a drummer may fill in the end of one phrase with a sixteenth note hi-hat pattern, in dru

1.
Sixteenth note fill in a rock/popular groove played on a drum kit. play (help · info)

Riffs
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within th

1.
Ghanaian gyil

2.
Dido's Lament ground bass, measures 1–6. Play (help · info)

3.
Ghanaian gyil cross-rhythmic ostinato. Play (help · info)

4.
Cuban guajeo written in cut-time. Play (help · info)

Double-stop
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In music, a double stop refers to the technique of playing two notes simultaneously on a bowed stringed instrument such as a violin, a viola, a cello, or a double bass. In performing a double stop, two strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered, a triple stop is the same technique

1.
A violin bridge blank (unfinished) and the finished bridge.

2.
Cello triple and quadruple stops from the opening of Breval 's Sonata in C major for cello and piano. Play (help · info)

Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usu

1.
Red Hot Chili Peppers in 2006, showing a quartet lineup for a rock band (from left to right: bassist, lead vocalist, drummer, and guitarist).

2.
Elvis Presley in a promotion shot for Jailhouse Rock in 1957

3.
Chubby Checker in 2005

4.
The Beach Boys performing in 1964

Heavy metal music
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Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. Heavy metal lyrics and performance styles are associated with aggression. The first heavy metal such as Led Zeppelin, Black Sabbath. During the mid-1970s, Judas Priest helped spur the evolution by discarding mu

1.
Judas Priest, performing in 2005

2.
Enid Williams from Girlschool and Lemmy from Motörhead singing "Please Don't Touch" live in 2009. The ties that bind the two bands started in the 1980s and are still strong today.

3.
Ritchie Blackmore, founder of Deep Purple and Rainbow, known for the neoclassical approach in his guitar performances

4.
King Diamond, known for writing conceptual lyrics about horror stories

Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ball

2.
Charley Patton, one of the originators of the Delta blues style, playing with a pick or a bottleneck slide.

3.
Sheet music from " Saint Louis Blues " (1914)

4.
Bessie Smith, an early blues singer, was known for her powerful voice.

Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrh

1.
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.

4.
In the late 18th-century painting The Old Plantation, African-Americans dance to banjo and percussion.

Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and o

1.
The Ramones ' 1976 debut album laid down the musical "blueprint for punk", while its cover image had a similarly formative influence on punk visual style.

2.
Johnny Rotten and Steve Jones of the Sex Pistols

3.
The Clash, performing in 1980

4.
British punks, circa 1986

Jazz fusion
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Jazz fusion is a musical genre that developed in the late 1960s when musicians combined aspects of jazz harmony and improvisation with styles such as funk, rock, rhythm and blues, and Latin jazz. During this time many jazz musicians began experimenting with electric instruments and amplified sound for the first time, as well as electronic effects,

1.
Trumpeter Miles Davis in 1989: One of the first innovators of jazz fusion

2.
Weather Report began as an experimental group, but eventually garnered a huge following.

Pop music
–
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition fro

1.
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)

2.
According to several sources, MTV helped give rise to pop stars such as Michael Jackson and Madonna; and Jackson and Madonna helped make MTV.

Rhythm guitar
–
Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, in big band music, the guitarist is considered part of the rhythm section, alongside bass and drums. In some musi

1.
Guitar strum Play (help · info): pattern created by subtracting the second and fifth (of eight) eighth notes from a pattern of straight eighth notes.

Guitar chord
–
In music, a guitar chord is a set of notes played on a guitar. A chords notes are played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning, standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root no

1.
Ry Cooder plays slide guitar using an open tuning that allows major chords to be played by barring the strings anywhere along their length.

2.
The Who's Peter Townshend often used a theatrical "windmill" strum to play "power chords"—a root, fifth, and octave.

3.
Elvis Presley's "Hound Dog" used the I-IV-V chord progression.

4.
Paul McCartney used an A-major I-IV-V7 chord-progression in "3 Legs", which is also an example of the twelve-bar blues.

Riff
–
In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within th

1.
Ghanaian gyil

2.
Dido's Lament ground bass, measures 1–6. Play (help · info)

3.
Ghanaian gyil cross-rhythmic ostinato. Play (help · info)

4.
Cuban guajeo written in cut-time. Play (help · info)

Musical scale
–
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave.

1.
Ascending and descending chromatic scale Play (help · info)

Musical modes
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In the theory of Western music, mode generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, regarding the concept of mode as applied to pitch relationships generally, Harold S. being in the domain of mode. This syn

1.
The introit Jubilate Deo, from which Jubilate Sunday gets its name, is in Mode 8.

2.
Modern Dorian mode on C Play (help · info)

Arpeggio
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A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord, an arpeggio is a type of broken chord where the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also more than one octave. The word arpeggio comes from the Italian word arpeggiare, whi

Lick (music)
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In popular music genres such as rock or jazz music, a lick is a stock pattern or phrase consisting of a short series of notes that is used in solos and melodic lines and accompaniment. Licks in rock and roll are often used through a formula, in a jazz band, a lick may be performed during an improvised solo, either during an accompanied solo chorus

1.
Carter-style lick. Play (help · info)

Legato
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In music performance and notation, legato indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence, Legato technique is required for slurred performance, but unlike slurring, legato does not forbid rearticulation. Standard notation indicates legato e

1.
Diatonic scale on C, legato. Play (help · info)

Hammer on
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A hammer-on is a playing technique performed on a stringed instrument by sharply bringing a fretting-hand finger down on the fingerboard behind a fret, causing a note to sound. This technique is the opposite of the pull-off, the technique also facilitates very fast playing because the picking hand does not have to move at such a high rate, and coor

1.
G run in G major variation Play (help · info) contains both hammer-ons and a pull-off.

Pull off
–
A pull-off is a stringed instrument plucking technique performed by pulling the finger off a string off the fingerboard of either a fretted or unfretted instrument. A pull-off is performed on a string which is already vibrating, pull-offs are performed on both fretted instruments and unfretted instruments. The result, a slight quack sound, may be a

1.
G run in G major variation Play (help · info) contains both hammer-ons and a pull-off.

Tapping
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Some players use exclusively tapping, and it is standard on some instruments, such as the Chapman Stick. Tapping may be performed either one-handed or two-handed and it is an extended technique, executed by using one hand to tap the strings against the fingerboard, thus producing legato notes. Tapping usually incorporates pull-offs or hammer-ons as

1.
Tapping

2.
Erik Mongrain two-hand tapping

3.
Emmett Chapman - Free Hands method 1969

Bow (music)
–
In music, a bow is a tensioned stick with hair affixed to it which is moved across some part of a musical instrument causing vibration, which the instrument emits as sound. The vast majority of bows are used with string instruments, such as the violin, although some bows are used with musical saws and other bowed idiophones. A bow consists of a spe

1.
A cello bow

2.
Frog of a modern violin bow (K. Gerhard Penzel)

3.
Tip of a modern violin bow (K. Gerhard Penzel)

4.
French (top) and German (bottom) double bass bows

EBow
–
The name Ebow stands for Electronic Bow or Energy Bow). The EBow is an electronic device for playing the electric guitar. The EBow uses a pickup – inductive string driver – feedback circuit, including a sensor coil, driver coil, the Ebow is monophonic, and drives one string at a time, producing a sound reminiscent of using a bow on the strings. In

1.
Playing the EBow on a Fender Telecaster

2.
An EBow

Call and response (music)
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In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the pattern in human communication and is found as a basic element of musical form, such as verse-chorus form. Call and response patterns

1.
"My Generation" vocal melody with response. Play (help · info)

Bend (guitar)
–
Finger vibrato is vibrato produced on a string instrument by cyclic hand movements. Despite the name, normally the entire hand moves, and sometimes the upper arm. It can also refer to vibrato on some instruments, achieved by lowering one or more fingers over one of the uncovered holes in a trill-like manner. This flattens the note periodically crea

1.
Example of bending on electric guitar

Vibrato
–
Vibrato is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music, Vibrato is typically characterised in terms of two factors, the amount of pitch variation and the speed with which the pitch is varied. In singing it can occur spontaneously through variations in the larynx,

1.
Spectrogram illustrating the difference between tremolo and vibrato.

Slide (guitar technique)
–
Slide guitar is a particular method or technique for playing the guitar. Instead of altering the pitch of the strings in the manner, an object called a slide is placed upon the string to vary its vibrating length. This slide can then be moved along the string without lifting, creating smooth transitions in pitch and allowing wide, Slide guitar is m

1.
Example of a bottleneck slide, with fingerpicks and a resonator guitar made of metal.

2.
Brian Cober's double slide technique in action

3.
Wooden resonator guitar played with a steel, angled to form a chord unavailable from straight open tuning.

4.
John Paul Jones playing slide

Jazz guitar
–
The term jazz guitar may refer to either a type of guitar or to the variety of guitar playing styles used in the various genres which are commonly termed jazz. The jazz-type guitar was born as a result of using electric amplification to increase the volume of acoustic guitars. Conceived in the early 1930s, the guitar became a necessity as jazz musi

1.
Duke Ellington 's big band had a rhythm section that included a jazz guitarist, a double bass player, and a drummer (not visible).

2.
A hollow-bodied Epiphone guitar with violin-style "F" holes.

Swing music
–
Swing music, or simply swing, is a form of American music that dominated in the 1930s and 1940s. The name swing came from the swing feel where the emphasis is on the off–beat or weaker pulse in the music, Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandlead

1.
Benny Goodman, one of the first swing bandleaders to achieve widespread fame.

2.
Frank Sinatra

3.
Django Reinhardt and Stephane Grappelli

Wes Montgomery
–
John Leslie Wes Montgomery was an American jazz guitarist. He is widely considered one of the jazz guitarists, emerging after such seminal figures as Django Reinhardtand Charlie Christian. Montgomery was known for a technique of plucking the strings with the side of his thumb which granted him a distinctive sound. He often worked with organist Jimm

1.
Wes Montgomery, 1965

Pentatonic
–
A pentatonic scale is a musical scale or mode with five notes per octave in contrast to a heptatonic scale such as the major scale and minor scale. Pentatonic scales are common and are found all over the world. They are divided into those with semitones and those without, examples of its use include Chopins Etude in G-flat major, op. 5, the Black K

1.
The first two phrases of the melody from Stephen Foster 's " Oh! Susanna " are based on the major pentatonic scale Play (help · info).

Blues scale
–
The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. The hexatonic, or six-note, blues scale consists of the pentatonic scale plus the ♭5th degree. At its most basic, a version of this blues scale is commonly used over all changes in a twelve bar blues progression. Likewise, in jazz

Jimi Hendrix
–
James Marshall Jimi Hendrix was an American rock guitarist, singer, and songwriter. The Rock and Roll Hall of Fame describes him as arguably the greatest instrumentalist in the history of rock music, born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the U. S. Army and trained as a paratrooper in the

1.
Hendrix's paternal grandparents, Ross and Nora Hendrix, pre-1912

2.
Hendrix in the US Army, 1961

3.
The Experience in 1968

4.
Hendrix on stage in 1967

Guitar shredding
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Shred guitar or shredding is a virtuoso lead guitar solo playing style for the guitar, based on various fast playing techniques. It is commonly used reference to heavy metal guitar playing. The term is used with reference to virtuoso playing outside the metal idiom, particularly in bluegrass. Ritchie Blackmore, best known as the guitarist of Deep P

Tremolo bar
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A variety of mechanical vibrato systems for guitar have been developed since the 1930s. They are used to add vibrato to the sound by changing the tension of the strings, the lever enables the player to quickly vary the tension and sometimes the length of the strings temporarily, changing the pitch to create a vibrato, portamento or pitch bend effec

1.
Dive bomb effect

2.
Clean Bigsby

3.
Kaufmann Vibrola rear - note spring mechanism.

4.
Kaufmann Vibrola on Rickenbacker Electro Spanish

Al Di Meola
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Al Di Meola is an American jazz fusion and Latin jazz guitarist, composer, and record producer of Italian origin. Albums such as Friday Night in San Francisco have earned him both artistic and commercial success with a fan base throughout the world. Di Meola grew up in Bergenfield, New Jersey, and attended Bergenfield High School and he has been a

2.
Di Meola with Return to Forever at Onondaga Community College, Syracuse, New York, 1974

3.
Al Di Meola, John McLaughlin, and Paco de Lucía performing in Barcelona, Spain in the 1980s

Return to Forever
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Return to Forever is a jazz fusion group founded and led by pianist Chick Corea. Through its existence, the band has had many members, with the only consistent bandmate of Coreas being bassist Stanley Clarke, along with Weather Report and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of

1.
Return to Forever in Rochester, New York, 1976

Shred guitar
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Shred guitar or shredding is a virtuoso lead guitar solo playing style for the guitar, based on various fast playing techniques. It is commonly used reference to heavy metal guitar playing. The term is used with reference to virtuoso playing outside the metal idiom, particularly in bluegrass. Ritchie Blackmore, best known as the guitarist of Deep P

Improvisation
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Improvisation is the term for the action of improvising. In a technical context, this can mean adapting a device for use other than that which it was designed for, or building a device from unusual components in an ad-hoc fashion. Improvisation, within the context of performing arts, is a spontaneous performance without specific or scripted prepara

1.
ComedySportz Austin performing a shortform game based on direction from the audience with the help of Red Dirt Improv; in this case spoofing a hard rock band performing a song made up on the stage

2.
The Ligue d'improvisation montréalaise (fr) (LIM) is a league of improvisational theatre based in Montreal, Quebec, Canada

Musical note
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In music, the term note has three primary meanings, A sign used in musical notation to represent the relative duration and pitch of a sound, A pitched sound itself. Notes are the blocks of much written music, discretizations of musical phenomena that facilitate performance, comprehension. In the former case, one note to refer to a specific musical

1.
Names of some notes without accidentals

2.
The note A or La

Unison
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UNISON is the second largest trade union in the United Kingdom with almost 1.3 million members. UNISONs current general secretary is Dave Prentis and he was elected on 28 February 2000 and took up the post on 1 January 2001, succeeding Rodney Bickerstaffe who had held the post for five years. Members of UNISON are typically from industries within t

1.
UNISON — the Public Service Union

2.
UNISON sign outside their headquarters on Euston Road, London

3.
Ants and Bear campaign poster.

4.
One in a Million campaign poster.

Electronics
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Electronics is the science of controlling electrical energy electrically, in which the electrons have a fundamental role. Commonly, electronic devices contain circuitry consisting primarily or exclusively of active semiconductors supplemented with passive elements, the science of electronics is also considered to be a branch of physics and electric

Special effects
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Special effects are illusions or visual tricks used in the film, television, theatre, video game, and simulator industries to simulate the imagined events in a story or virtual world. Special effects are divided into the categories of optical effects. Mechanical effects are usually accomplished during the live-action shooting and this includes the

1.
Comparison of acoustic spectrograms of a song in an uncompressed format and lossy formats. That the lossy spectrograms are different from the uncompressed one indicates that they are, in fact, lossy, but nothing can be assumed about the effect of the changes on perceived quality.